Posts Tagged ‘G4L’

That picture is taken straight after the guy had finished tattooing, so that’s why it’s quite red – the blood is at the surface. In a couple of weeks when the tattoo has healed, the shading will look much more black and grey, which will be perfect! Needless to say, having a tattoo on my ribs was a tad bit more painful than my first one above my collarbone, but I handled it like a man, and Mike reassured me a couple of times which was helpful (we’re both two tats apiece now!). I didn’t get hardly any sleep last night, because my tattoo is quite sore and every time I rolled over on it, I seemed to wake up, but I’m happy to sacrifice a little sleep for a piece of art I’m truly happy with.

A lot of people have asked “Why a gun???” I think that it’s a little darker than people expect from me, but it has its significance to me. Firstly, I like the fact that it’s a little dark, a little edgy, a little dangerous. I was inspired by Rihanna because she has a little gun on her side, but I really didn’t want to just copy her tattoo: a) it didn’t have that much detail in it, and b) I wanted it on my ribs as opposed on my side on level with my chest. I had my own ideas, and that’s the most important thing I think when getting a tattoo: it has to be what you want. That’s why I’m so into custom design, rather than picking something from a book or from the display cards in the studio. The gun means that I’ll never be defenceless again, and it’s a little reminder of the fact that I always possess some power, some control in life. Finally, I modified the design to make it a revolver instead of your average pistol / shotgun, because I am in love with Rihanna’s song “Russian Roulette” – not only is it a beautiful song to listen to and to sing, but the lyrics mean so much to me. In short, when I listen to it, it’s the story of Mike & me, it’s a story of love and heartache and the danger bound up in that. And for those reasons, I wanted to get the revolver barrel put on my gun to honour that; over the past 4 months I’ve had to grow up a lot, and those experiences have really shaped who I have become and my maturity, my outlook on life.

The tattoo studio I went to this time was Iron & Ink on Bristol Road in Whitchurch Village: Dean and Lewis are both fantastically talented and really nice blokes, and having done this tattoo + two for Mike, and Phill’s getting one there next week (where are our loyalty cards?!?! 😛 ), I can’t recommend them enough. They may be a tiny bit pricier than some other tattoo parlours (their minimum charge I think is £40, rather than £15 or £20 that you might find elsewhere), but I hope the picture above demonstrates that you get what you pay for. At the moment, they have small waiting lists (I expect this to change as they become more well-known!) and I booked my gun last week, got it done yesterday, thankyou very much – and they’ll work on a design brief you give them and customise it so that it looks the best it can. I thoroughly recommend them!

Here is the album review I promised on my twitter yesterday! Before I start, once again I want to thank you all for supporting my blog, both my music reviews and my personal entries. I really appreciate all the views and I hope that you’ll keep it locked here because I ain’t stoppin’! 🙂 Thankyou.

You already know what I think of Russian Roulette, and the other 3 songs we’ve heard already from Rated R. Generally, they portray a darker, edgier side to Rihanna, both in the production (deeper, more menacing beats) and lyrical content that includes a bit of cursing, a lot of swagger and references to pain, trials and tribulations. “Russian Roulette”, “Wait Your Turn” and “Hard” are more or less indicative of the album as a whole. In contrast to her previous smash Good Girl Gone Bad, it’s a lot less uptempo. The songs are mainly midtempos and ballads, which may alienate a lot of fans who want her faster, danceable material (though “Hard” and “Rude Boy” cater to these needs, and do so well with swagger lyrics – the latter seeing Rihanna come on to a ‘rude boy’ as if she were the guy who is gonna “put it on you”). However, the slower material allows for two major things: one, to prove that Rihanna can actually sing. Okay, she’s no Beyoncé, but she holds her own a lot better than many people might expect. “Russian Roulette” and closing standout “The Last Song” don’t employ lots of vocal runs, but they emphasise strong, clear vocals that prove Rihanna’s got a voice as well as a body – btw. the artwork for this era is immense! – and also go well with the more emotionally searching and vulnerable material. Two, it allows for Rihanna to delve into her pain, and although it’s never made explicit that she’s referencing her love, abuse and love lost with Chris Brown, songs such as “Stupid In Love” and the epic “Cold Case Love” immediately bring that whole affair to mind.

Not every song is concerned with love lost. “Te Amo” is about a girl who’s infatuated with Rihanna, and its undulating beats have been beefed up slightly on the album version to make it more hypnotic and possibly (along with “Rude Boy”) the song that would have slotted in nicely on Good Girl Gone Bad. “Rockstar 101” is backed up by Slash’s guitar work and like “Hard” and “Wait Your Turn”, it demonstrates Rihanna’s confidence in herself – something she perhaps wants to emphasise. She is fierce! However, compared to some of the other tracks, “Rockstar 101” falls somewhat flat, as it doesn’t have as much depth as the emotionally-charged midtempos, nor does it ring as true as the harder-knocking songs. It does demonstrate that Rihanna is not an urban artist – she’s a pop singer who encompasses a range of music. On this album, she combines elements of rock, pop, R&B and melds them together to create a dark album that works for the most part. And credit goes to her for trying to improve on each album – like Good Girl Gone Bad, the amount of filler on the disc is fairly minimal (in contrast to her first two records) and she’s tried to do something different that has evolved as she has as a person. So I must applaud that.

A couple of the ballads such as “Stupid In Love” and “Photographs” (which benefits from will.i.am’s synthed beats that kick in midway) are perfectly solid, but pale in comparison to the best tracks. These are, in a nutshell, first single “Russian Roulette”, “Fire Bomb”, “G4L”, “Cold Case Love” and “The Last Song”. These all work because Rihanna is putting herself out there vocally and emotionally. The producers do a fantastic job (praise must go in particular to Justin Timberlake and The Ys’ work on “Cold Case Love”, which shows a gradual building of beatboxing, standard beats, guitars and strings to an epic climax that fades out by itself and underline Rihanna’s pain at a love misfired – “Release me now ’cause I did my time”) more or less throughout, but Rihanna herself carries the songs. “Fire Bomb” has been compared to something by Kelly Clarkson, but in my opinion it knocks much harder and is a compelling contrast to expectations – most people would expect a club banger from the title, when in fact it’s a slow pop/rock ballad which essentially says “if I’m going down in flames, you’re coming with me”. “G4L” is one of the darkest songs which shows Rihanna pledging to be “down 4 life”, ride or die until the end. The off-key tweaks at the beginning signal something mysterious, and the lyric “I lick the gun when I’m done ’cause I know that revenge is sweet” is one of the best opening salvos I can remember. The track brings to mind the tiny gun tattoos on the sides of Rihanna’s breasts, demonstrating that even if she may be a sweet person on the surface, she’s also a strong and determined one – her attitude is reflected in her music as much as her body art.

“The Last Song” was the track that stood out to me most from listening to the 30-second snippets, and it doesn’t disappoint – it’s a perfect closer to the album, not only in name but in texture also. It employs a soaring guitar and heartwrenching lyrics, chronicling the realisation of a breakup. “The sad song ends up being the last song you’ll ever hear.” Rihanna’s spare vocals almost seem to cry the lyrics throughout the track, and the buildup throughout the song until near the end where all the instruments fade out is done perfectly. Rihanna said that she wanted Lil’ Wayne and Kings Of Leon to like her album, demonstrating her desired blend of urban and rock. The album is definitely a mélange of styles, but apart from “Hard”, I don’t see enough hip-hop for Weezy to connect with, and the rock elements are nowhere near as indie-pop as Kings Of Leon. However, the soaring guitars provide something edgier and deeper within the context of a pop album, and the hard-hitting beats and synths knock plenty – the combination of which provide something quite extraordinary and special within itself. Rihanna should be proud of this record.

Rated R has a focused aggression to it that rings truer than it did on Good Girl Gone Bad. Despite the lack of uptempo smashes, it’s a fantastic record that hopefully will have as much repeat-play value as her previous record. Whether it’s because of her personal struggles, maturity as a young woman or desire to experiment musically (probably a combination of all three), Rated R shows growth. I pray that her label doesn’t re-release the album, since it’s perfect as it is and comes across as something sincere, rather than designed to make money as a light pop confection. Why I’m impressed with Rated R, beyond the simple fact that most of the songs are solid or better, is because it’s cohesive. All the songs work together to make the album more than the sum of its parts. It has a big emotional impact, and it sets a musical mood (dark, edgy and yet heartfelt) that doesn’t let up throughout – in her own words, from “Hard”, “that Rihanna rain/reign”. I didn’t know if she had it in her to best Good Girl Gone Bad, but even if it doesn’t have as many number 1 smashes and addictive beats, Rated R is a musical step forward that I personally value that little bit more.